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Journal articles on the topic 'Modernism (Literature) Museums'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Stoneley, Peter. ""The Fellows from the Fogg": Modernism, Homosexuality, and Art-World Authority." New England Quarterly 84, no. 3 (2011): 473–95. http://dx.doi.org/10.1162/tneq_a_00112.

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The spread of modernist painting in the early-twentieth-century United States was met with cries of "degeneracy" and "homosexual conspiracy." This essay explores the claims and counter-claims. Above all, Stoneley argues that the battles reflected larger shifts in art-world authority, with the museums and the "museum professional" emerging as controlling forces.

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2

Orlović, Ante. "Zadarska fotografija između dva svjetska rata u kontekstu afirmacije modernizma." Ars Adriatica 9 (February 28, 2020): 193–202. http://dx.doi.org/10.15291/ars.2931.

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The aim of this paper is to offer a broader insight into the problem of defining modernism in Zadar’s photography between the two World Wars. Particular attention has been paid to the political and social situation in Zadar, its photographers, and the photo exhibitions that had a special impact on the development of Zadar’s photography. By analysing the relevant material on the exhibitions, scholarly literature and periodicals, as well as the archival and museum collections, the author has assessed the extent to which modernism has permeated and influenced Zadar’s photography at that time and

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3

Werner, Meike G. "Vom Annex zum Atelier." Internationales Archiv für Sozialgeschichte der deutschen Literatur 44, no. 2 (2019): 399–409. http://dx.doi.org/10.1515/iasl-2019-0018.

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Abstract In 1960, two competing anthologies of modern poetry were published in an attempt to renew and internationalize German poetry: Günther Steinbrinker’s Panorama moderner Lyrik and Hans Magnus Enzensberger’s Museum der modernen Poesie. This essay argues that the success of Museum over Panorama was based on Enzensberger’s comparative approach to modernist poetry in the first half of the twentieth century as a “chrestomathy” (a textbook) for a “world language of poetry”. This chrestomathy also provided the blueprint for his own German-language poems, which he published the same year in a co

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4

Joselit, David, Michelle Kuo, and Amy Sillman. "Shape: A Conversation." October 172 (May 2020): 135–46. http://dx.doi.org/10.1162/octo_a_00398.

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A wide-ranging conversation between artist Amy Sillman, Museum of Modern Art curator Michelle Kuo, and October editor David Joselit on Sillman's influential Artist's Choice exhibition, The Shape of Shape, presented in the reopening of MoMA's galleries in 2019. Topics range from the re-introduction of intuition into histories of contemporary painting to strategies for expanding the modernist canon.

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Copeland, Huey, Hal Foster, David Joselit, and Pamela M. Lee. "A Questionnaire on Decolonization." October 174 (December 2020): 3–125. http://dx.doi.org/10.1162/octo_a_00410.

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The term decolonize has gained a new life in recent art activism, as a radical challenge to the Eurocentrism of museums (in light of Native, Indigenous, and other epistemological perspectives) as well as in the museum's structural relation to violence (either in its ties to oligarchic trustees or to corporations engaged in the business of war or environmental depredation). In calling forth the mid-twentieth-century period of decolonization as its historical point of reference, the word's emphatic return is rhetorically powerful, and it corresponds to a parallel interest among scholars in a plu

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6

Fox. "Museum Trouble: Edwardian Fiction and the Emergence of Modernism, by Ruth Hoberman." Victorian Studies 55, no. 4 (2013): 760. http://dx.doi.org/10.2979/victorianstudies.55.4.760.

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7

Ruisánchez, José Ramón. "The Cacique in Chapultepec: Toward a Museology of Carlos Fuentes." PMLA/Publications of the Modern Language Association of America 128, no. 3 (2013): 719–22. http://dx.doi.org/10.1632/s003081290012303x.

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The 1960s were a crucial decade for museum building in Mexico. The key year was 1964, the end of Adolfo López Mateos's presidential term, since it saw the inauguration of the Museo de Arte Moderno, the Anahuacalli, the Museo de la Ciudad de México, and the most spectacular of all: the Museo Nacional de Antropología, the architect Pedro Ramírez Vázquez's masterpiece and one of the country's primary tourist attractions. The 1960s also witnessed how Carlos Fuentes, a young writer who had published his first novel in 1958, continued to produce his canonical works at a staggering pace. In what foll

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8

Bourland, W. Ian. "Ibrahim El-Salalhi: A Visionary Modernist ed. Salah M. Hassan New York: The Museum for African Art, 2012. 190 pp., 112 color, 14 b/w illus. $50.00, cloth." African Arts 47, no. 1 (2014): 94–95. http://dx.doi.org/10.1162/afar_r_00130.

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9

Blurton, Heather, Marion Turner, Neema Parvini, et al. "Reviews: Animal Encounters: Contacts and Concepts in Medieval Britain, Reading Literature Historically: Drama and Poetry from Chaucer to the Reformation, Rethinking Historicism from Shakespeare to Milton, Travel Writing and the Natural World, 1768–1840, Female Gothic Histories: Gender, History and the Gothic, Roomscape: Women Writers in the British Museum from George Eliot to Virginia Woolf, Conrad's Secrets, British Writers and MI5 Surveillance, 1930–1960, the Covert Sphere: Secrecy, Fiction & the National Security State, on the Ruins of Modernity: New Chicago Renaissance from Wright to Fair, the Black Chicago Renaissance, Reading the Ruins: Modernism, Bombsites and British Culture." Literature & History 22, no. 2 (2013): 113–34. http://dx.doi.org/10.7227/lh.22.2.7.

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10

Radywyl, Natalia. "“A little bit more mysterious…”: Ambience and Art in the Dark." M/C Journal 13, no. 2 (2010). http://dx.doi.org/10.5204/mcj.225.

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A Site for the Study of Ambience Deep in Melbourne’s subterranean belly lies a long, dark space dedicated to screen-based art. Built along disused train platforms, it’s even possible to hear the ghostly rumblings and clatter of trains passing alongside the length of the gallery on quiet days. Upon descending the single staircase leading into this dimly-lit space, visitors encounter a distinctive sensory immersion. A flicker of screens dapple the windowless vastness ahead, perhaps briefly highlighting entrances into smaller rooms or the faintly-outlined profiles of visitors. This space often ho

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11

Baghiu, Ștefan, Andrei Terian, Vlad Pojoga, Teodora Susarenco, Iunis Minculete, and Ovio Olaru. "Geografia romanului românesc (1901-1932): străinătatea." Transilvania, October 1, 2020, 1–11. http://dx.doi.org/10.51391/trva.2020.10.01.

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The Geography of the Romanian Novel (1901-1932): Spaces from Abroad This article charts the main cities mentioned in the Romanian novel published between 1901 and 1932 based on the corpus of novels created by the research project The Digital Museum of the Romanian Novel 1901-1932 (around 370 digitized novels). The main discoveries that our distant reading of the geography in these novels revealed are that the planet is covered in the Romanian novel during the period in genre fiction (that has mentions of cities from Africa, Asia and South America), not in modernist highbrow literature, and tha

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12

Stead, Naomi. "White cubes and red knots." M/C Journal 5, no. 3 (2002). http://dx.doi.org/10.5204/mcj.1961.

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The question of colour in architecture offers many potential points of entry. Taking an historical standpoint, one could discuss the use of bright colour in ancient Greek and Roman architecture, the importance of brilliantly coloured mosaic and stained glass to sacred architecture in the Byzantine and medieval periods, and the primacy of colour in non-Western architectural traditions both ancient and modern. It would be possible to trace prohibitions against the use of applied colour, derived from late 18th century notions of architectural morality—ideals demanding authenticity, honesty and di

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13

Mudie, Ella. "Unbuilding the City: Writing Demolition." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1219.

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IntroductionUtopian and forward looking in tenor, official narratives of urban renewal and development implicitly promote normative ideals of progress and necessary civic improvement. Yet an underlying condition of such renewal is frequently the very opposite of building: the demolition of existing urban fabric. Taking as its starting point the large-scale demolition of buildings proposed for the NSW Government’s Sydney Metro rail project, this article interrogates the role of literary treatments of demolition in mediating complex, and often contradictory, responses to transformations of the b

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14

Seale, Kirsten, and Emily Potter. "Wandering and Placemaking in London: Iain Sinclair’s Literary Methodology." M/C Journal 22, no. 4 (2019). http://dx.doi.org/10.5204/mcj.1554.

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Iain Sinclair is a writer who is synonymous with a city. Sinclair’s sustained literary engagement with London from the mid 1960s has produced a singular account of place in that city (Bond; Baker; Seale “Iain Sinclair”). Sinclair is a leading figure in a resurgent and rebranded psychogeographic literature of the 1990s (Coverley) where on-foot wandering through the city brings forth narrative. Sinclair’s wandering, materialised as walking, is central to the claim of intimacy with the city that underpins his authority as a London writer. Furthermore, embodied encounters with the urban landscape

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15

Synenko, Joshua. "Topography and Frontier: Gibellina's City of Art." M/C Journal 19, no. 3 (2016). http://dx.doi.org/10.5204/mcj.1095.

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Cities have long been important sites of collective memory. In this paper, I highlight the ritual and memorial functions of cities by focusing on Gibellina, a Sicilian town destroyed by earthquake, and the subsequent struggle among its community to articulate a sense of spatial belonging with its remains. By examining the productive relationships between art, landscape and collective memory, I consider how memorial objects in Gibellina have become integral to the reimagining of place, and, in some cases, to forgetting. To address the relationship between memorial objects and the articulation o

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16

Sully, Nicole, Timothy O'Rourke, and Andrew Wilson. "Design." M/C Journal 24, no. 4 (2021). http://dx.doi.org/10.5204/mcj.2848.

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Conventional definitions of design rarely capture its reach into our everyday lives. The Design Council, for example, estimates that more than 2.5 million people use design-related skills, principles, and practices on a daily basis in UK workplaces (Design Council 5, 8). Further, they calculate that these workers contribute £209 billion to the economy annually (8). The terrain of design professions extends from the graphic design of online environments, the business models that make them economically viable, and the algorithms that enable them to function, through to the devices we use, the cl

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17

Milne, Esther. "‘Magic Bits of Paste-board’." M/C Journal 7, no. 1 (2004). http://dx.doi.org/10.5204/mcj.2311.

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To the unrefined or under-bred person, the visiting-card is but a trifling and insignificant piece of paper; but to the cultured disciple of social law it conveys a subtle and unmistakable intelligence. Its texture, style of engraving, and even the hour of leaving it, combine to place the stranger whose name it bears in a pleasant or disagreeable attitude, even before his manners, conversation, and face have been able to explain his social position (1920 etiquette manual quoted in Curtin 138). There’s a scene in the ‘90s TV series Ab Fab where Eddy, stumbling from her car, fresh from Harvey Ni

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18

Lee, Tom McInnes. "The Lists of W. G. Sebald." M/C Journal 15, no. 5 (2012). http://dx.doi.org/10.5204/mcj.552.

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Since the late 1990s, W. G. Sebald’s innovative contribution to the genre of prose fiction has been the source of much academic scrutiny. His books Vertigo, The Rings of Saturn, The Emigrants and Austerlitz have provoked interest from diverse fields of inquiry: visual communication (Kilbourn; Patt; Zadokerski), trauma studies (Denham and McCulloh; Schmitz), and travel writing (Blackler; Zisselsberger). His work is also claimed to be a bastion for both modernist and postmodernist approaches to literature and history writing (Bere; Fuchs and Long; Long). This is in addition to numerous “guide to

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